"Battle of Delft (1573) The Battle of Delft also known as the Defence of Delft was a military engagement that fought during the Eighty Years' War and the Anglo–Spanish War which took place in October 1573 in and outside the city of Delft. The battle was fought by a small Anglo-Dutch force under Thomas Morgan and an attacking Spanish force under Francisco de Valdez. The Spanish were repelled and forced to retreat. The Spanish Governor of the Netherlands Fernando de Toledo (the 3rd Duke of Alba) had besieged Alkmaar in August but had been repelled. Soon after in early October,"
"Delftware Delftware or Delft pottery, also known as Delft Blue (), is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery that it influenced made in England, but this should be called English delftware to avoid confusion. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually"
"De Koninklijke Porceleyne Fles The Koninklijke Porceleyne Fles (aka, Royal Delft) is the only remaining factory of the 32 earthenware factories that were established in Delft during the 17th century. It is known for its Delftware production, which has been active for more than 350 years, without interruption. Delft Blue started in the Netherlands around the 17th century when the VOC (the Dutch East India Company) brought the blue painted porcelain back from China. This resulted in an inspiration for the Dutch ceramists, because this fragile porcelain was not created or seen before. For Royal Delft, it all started in"
"the tin-glazed earthenwares being imported from Italy were the Dutch. Delftware is a kind of faience, made at potteries round Delft in the Netherlands, characteristically decorated in blue on white, in imitation of the blue and white porcelain that was imported from China in the early sixteenth century, but it quickly developed its own recognisably Dutch décor. ""English delftware"" produced in Lambeth, London, and at other centers, from the late sixteenth century, provided apothecaries with jars for wet and dry drugs. Many of the early potters in London were Flemish. By about 1600, blue-and-white wares were being produced, labelling the"
"collections of old Delftware in the Rijksmuseum and the Victoria and Albert Museum. English delftware was made in the British Isles between about 1550 and the late 18th century. The main centers of production were London, Bristol and Liverpool with smaller centers at Wincanton, Glasgow and Dublin. John Stow's ""Survey of London"" (1598) records the arrival in 1567 of two Antwerp potters, Jasper Andries and Jacob Jansen, in Norwich, where they made ""Gally Paving Tiles, and vessels for Apothecaries and others, very artificially"". In 1579 Jansen applied to Queen Elizabeth I for the sole right to practice ""galleypotting"" in London"
"decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. It also forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th century Chinese porcelain, and in great demand in Europe. Delftware includes pottery objects of all descriptions such as plates, vases and other ornamental forms and tiles. The start of the style was around 1600, and the most highly-regarded period of production is about 1640–1740, but Delftware continues to be"
"Deruta and Montelupo) still produce maiolica, which is sold in quantity in Italian tourist areas. Delftware was made in the Netherlands from the 16th to the 18th centuries. The main period of manufacture was 1600-1780, after which it was succeeded by white stoneware and porcelain. The earliest tin-glazed pottery in the Netherlands was made in Antwerp in 1512. The manufacture of painted pottery may have spread from the southern to the northern Netherlands in the 1560s. It was made in Middleburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in"
"as much of it was made in the town of Delft. Dutch potters brought it to England in around 1600, and wares produced there are known as ""English delftware"" or ""galleyware"". In France it was known as ""faience"". The word ""maiolica"" is thought to have come from the medieval Italian word for Majorca, an island on the route for ships that brought Hispano-Moresque wares to Italy from Valencia in the 15th and 16th centuries, or from the Spanish ""obra de Mallequa"", the term for lustered ware made in Valencia under the influence of Moorish craftsmen from Malaga. During the Renaissance,"
"(Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware. Delft Blue pottery formed the basis of one of British Airways' ethnic tailfins. The design, Delftblue Daybreak, was applied to 17 aircraft. Delftware Delftware or Delft pottery, also known as Delft Blue (), is"
"for export to Europe. Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares ""were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business."" By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles (""The Royal Porcelain Bottle"") founded in 1653. Today, Delfts Blauw"
"bone china produced by makers such as Sèvres in France, Meissen in Germany, Royal Copenhagen in Denmark, Royal Doulton in England, or Belleek Pottery in Northern Ireland. Sets of dishes are referred to as a table service, dinner service or service set. Table settings or place settings are the dishes, cutlery and glassware used for formal and informal dining. In Ireland such items are normally referred to as ""delph"", the word being an English language phonetic spelling of the word ""delft"", the town from which so much delftware came. Silver service or butler service are methods for a butler or"
"the contribution of Royal Delft for the Dutch Delft Blue industry. Nowadays, the relation with the Dutch Royal Family is still close. In 2003 the company celebrated its 350th anniversary which it did by launching a new line called Jubilee. De Koninklijke Porceleyne Fles The Koninklijke Porceleyne Fles (aka, Royal Delft) is the only remaining factory of the 32 earthenware factories that were established in Delft during the 17th century. It is known for its Delftware production, which has been active for more than 350 years, without interruption. Delft Blue started in the Netherlands around the 17th century when the"
"There are good examples of English delftware in the Victoria and Albert Museum, the British Museum, the Ashmolean Museum and the Fitzwilliam Museum. English delftware English delftware is tin-glazed pottery made in the British Isles between about 1550 and the late 18th century. The main centres of production were London, Bristol and Liverpool with smaller centres at Wincanton, Glasgow and Dublin. English tin-glazed pottery was called ""galleyware"" and its makers ""gallypotters"" until the early 18th century; it was given the name delftware after the tin-glazed pottery from the Netherlands, which it often copied, but ""delftware"" is not usually capitalized. Many"
"English delftware English delftware is tin-glazed pottery made in the British Isles between about 1550 and the late 18th century. The main centres of production were London, Bristol and Liverpool with smaller centres at Wincanton, Glasgow and Dublin. English tin-glazed pottery was called ""galleyware"" and its makers ""gallypotters"" until the early 18th century; it was given the name delftware after the tin-glazed pottery from the Netherlands, which it often copied, but ""delftware"" is not usually capitalized. Many everyday wares were made: tiles, mugs, drug jars, dishes, wine bottles, posset pots, salt pots, candlesticks, fuddling cups (that is, ale mugs joined"
"Delft artist Egbert van der Poel painted several pictures of Delft showing the devastation. The city centre retains a large number of monumental buildings, while in many streets there are canals of which the banks are connected by typical bridges, altogether making this city a notable tourist destination. Historical buildings and other sights of interest include: Delft is well known for the Delft pottery ceramic products which were styled on the imported Chinese porcelain of the 17th century. The city had an early start in this area since it was a home port of the Dutch East India Company. It"
"Chinoiserie. Many other European factories followed this trend. In Delft, Netherlands blue and white ceramics taking their designs from Chinese export porcelains made for the Dutch market were made in large numbers throughout the 17th Century. Blue and white Delftware was itself extensively copied by factories in other European countries, including England, where it is known as ""English Delftware."" The plate shown in the illustration (left) is decorated, using transfer printing, with the famous ""willow pattern"" and was made by Royal Stafford; a factory in the English county of Staffordshire. Such is the persistence of the willow pattern that it"
"can still be seen at the pottery factories De Koninklijke Porceleyne Fles (or Royal Delft) and De Delftse Pauw. The painter Johannes Vermeer (1632–1675) was born in Delft. Vermeer used Delft streets and home interiors as the subject or background in his paintings. Several other famous painters lived and worked in Delft at that time, such as Pieter de Hoogh, Carel Fabritius, Nicolaes Maes, Gerard Houckgeest and Hendrick Cornelisz. van Vliet. They were all members of the Delft School. The Delft School is known for its images of domestic life, views of households, church interiors, courtyards, squares and the streets"
"Het geheim van Delft Het geheim van Delft (The secret of Delft) is a 1917 Dutch silent drama film directed by Maurits Binger. Most of the filming took place in Haarlem, and not in Delft. Annie and Lilly Vogels are the young daughters of Jan, a specialist in Delft pottery, working as a manager in a porcelain factory. Van Haaften is the owner and executive of the factory. While father Jan is working on an improved procedure for making porcelain, his daughter Lilly is very busy running the household. Her older sister Annie does not contribute as much to the"
"with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. The Delft potters also made tiles in vast numbers (estimated at eight hundred million over a period of two hundred years); many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular, was widely exported in Europe and reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe. By the late 18th century, Delftware potters had lost their market to British porcelain and the new white earthenware. There are good"
"produced. In the 17th and 18th centuries Delftware was a major industry, exporting all over Europe. The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the ""Spanish Fury""). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work"
"hard-paste porcelain had become the great obsession of European rulers and aristocrats. The Dutch workshops at Delft created tin-glazed earthenware that was an early European imitation of the expensive Chinese ware. Around 1680 when he was Imperial Envoy to the Netherlands, Wenzel Ferdinand, Count Lobkowicz of Bilina, commissioned a personalized work, designed with intricate overlapping letters of his initials WL. With 150 pieces, the set is the largest surviving Delft dinner service. A selection of pieces are on display at the Lobkowicz Palace Museum. In the spring of 2000, over sixty pieces from this service were lent to the Rijksmuseum,"
"moulded, rather than paint. Especially in the Eastern Empire, local traditions continued, hybridizing with Roman styles to varying extents. Tin-glazed pottery, or faience, originated in Iraq in the 9th century, from where it spread to Egypt, Persia and Spain before reaching Italy in the Renaissance, Holland in the 16th century and England, France and other European countries shortly after. Important regional styles in Europe include: Hispano-Moresque, maiolica, Delftware, and English Delftware. By the High Middle Ages the Hispano-Moresque ware of Al-Andaluz was the most sophisticated pottery being produced in Europe, with elaborate decoration. It introduced tin-glazing to Europe, which was"
"Although Dutch potters did not immediately imitate Chinese porcelain, they began to do it when the supply to Europe was interrupted, after the death of Wanli Emperor in 1620. Kraak, mainly the blue and white porcelain, was imitated all over the world by potters in Arita, Japan and Persia—where Dutch merchants turned when the fall of the Ming Dynasty rendered Chinese originals unavailable—and ultimately in Delftware. Dutch and later English Delftware inspired by Chinese designs persisted from about 1630 to the mid-18th century alongside European patterns. Antonio de Morga (1559–1636), a Spanish official in Manila, listed an extensive inventory of"
"available to pottery makers looking for larger premises; some retained the old brewery names, e.g. ""The Double Tankard"", ""The Young Moors' Head"", and ""The Three Bells"". The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland. From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with"
"native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware"
"coating the rest with clear glaze. They then began to cover the tin glaze with a coat of clear glaze which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain. Although Dutch potters did not immediately imitate Chinese porcelain, they began to do after the death of the Emperor Wan-Li in 1619, when the supply to Europe was interrupted. Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Delftware ranged from simple household items to fancy artwork. Pictorial plates were made in abundance, illustrated"
"is sometimes called the Central European Linear Pottery (CELP) to distinguish it from the ALP phase of the Eastern Linear Pottery culture. The Hungarians tend to use DVK, ""Dunántúl Vonaldiszes Kerámia"", translated as ""Transdanubian Linear Pottery"". A number of local styles and phases of ware are defined. The end of the early phase can be dated to its arrival in the Netherlands at about 5200 BC. The population there was already food-producing to some extent. The early phase went on there, but meanwhile the Music Note Pottery (""Notenkopfkeramik"") phase of the Middle Linear Band Pottery culture appeared in Austria at"
"""Delft"" at Historical Shipyard 'de Delft' () in Delfshaven, near to the place where the original ship was built. Dutch ship Delft (1783) Delft was a Dutch 56-gun fourth rate ship of the line of the navy of the Dutch Republic and the Batavian Republic. The order to construct the ship was given on 27 May 1782 by the Admiralty of the Meuse. ""Delft"" was commissioned on 16 May 1783 by the United Netherlands Navy. On 24 December 1787 ""Delft"" set sail on a mission against the Barbary pirates and protected Dutch traders in the Mediterranean. For the ship's second"
"Delft School (painting) The Delft School is a category of mid-17th-century Dutch Golden Age painting named after its main base, Delft. It is best known for genre painting: images of domestic life, views of households, church interiors, courtyards, squares and the streets of that city. Carel Fabritius and Nicolaes Maes are seen as the originators of these localised specialties in the 1640s that were continued in the 1650s by Pieter de Hooch and Johannes Vermeer. Vermeer is the most famous of these painters today. The architectural interiors of Gerard Houckgeest, Emanuel de Witte and Hendrick Cornelisz. van Vliet are also"
"and Anne of Austria. Mary appears to her young husband Francis II. It is identified as ""Queen of France and Scotland."" The portrait collection is embedded in a true decorative casket; the decor of the room was to the extent of the collection. Paul Ardier the Younger, oversaw the laying of some 5,500 Delft tiles adorning the floor of the gallery. Ordered from the famous Dutch earthenware from Delft, the 150 square meters of tiles represent an entire army in working order. There are 17 body regiments in costume inspired Louis XIII engraving Jacques De Gheyn. This Delft earthenware pavement"
"Jacob Willemsz Delff the Younger Jacob Willemsz Delff the Younger (1619, Delft – 1661, Delft), was a Dutch Golden Age portrait painter. According to Houbraken he won a lucrative commission from the Delft ""vroedschap"" to repair his grandfather's schutterstuk after the Delft Explosion in 1654 damaged it. This showed not only the respect the young man had for his grandfather, but also the value that the Delft council placed on their schutterstuk by him. According to the RKD his wedding portrait and the pendant of his wife were drawn from (now lost) paintings and are in the possession of the"
"1620, when the supply to Europe was interrupted. ""Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."" Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late"
"by Josiah Wedgwood, and icreasingly cheap European porcelain and Chinese export porcelain, reduced the demand for tin-glaze Delftware, faience and majolica. The rise in the cost of tin oxide during the First World War led to its partial substitution by zirconium compounds in the glaze. Tin-glazed pottery of different periods and styles is known by different names. The pottery from Muslim Spain is known as ""Hispano-Moresque ware"". The decorated tin-glaze of Renaissance Italy is called ""maiolica"", sometimes pronounced and spelt ""majolica"" by English speakers and authors. When the technique was taken up in the Netherlands, it became known as ""delftware"""